3d modeling course...

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Course Purpose: What is the purpose of this course? Please provide a brief description of the goals and

expected outcomes. (How these will be accomplished should be reserved for the Course Outline, Key and

Written assignments, Assessments, and/or Instructional Methods.) NOTE: More specificity than a simple

recitation of the State Standards is needed.

This course is a technical, aesthetic and historical exploration of three-dimensional design through the

creation of digital modeling and animation artworks. By using 3d modeling tools, the course emphasizes

artistic perception and creative expression through 2-dimensional image making, digital animation, and 3d

printed sculpture.

This process-focused course will build the students’ perceptual skills and visual arts vocabulary in 2-

dimensional design principles to their application in 3-dimensional space. Two-dimensional works will

focus on the application of artistic processes and skills to communicate meaning in original works of art;

Developing and applying drawing and design skills through sketchbook activities, design and composition

concepts, and digital manipulation skills using a variety of traditional and digital tools. Three-dimensional

artworks will focus on analyzing the sculptural nature of 3D modeling, explore the elements of

contemporary 3d digital design, and analyze the role and development of 3D design in past and present

cultures throughout the world. Students will create their own interpretations of traditional and contemporary

3-dimensional artwork which may serve as functional pieces and/or works of fine art.

3D Modeling for Design is a 3rd year class in a sequence of animation and design courses. Students

enter this class having taken a sequence of animation courses (Introduction to 2D Animation and

Intermediate 2D Animation) or the students have completed a sequence of design courses (Design A/B

and Art Design Advanced). Many students have also completed Introduction to Engineering, a Project

Lead the Way course. 3D Modeling for Design is for students who are interested in the fields of animation,

illustration, character modeling, design for video games, motion graphics, industrial design, and

architecture.

The Purpose of the Course

The purpose of 3D Modeling for Design is to expand the students’ knowledge of the elements of art,

principles of design, and principles of animation as they relate to 3D digital art. Although computers are

used as the primary media to create expressive works, the emphasis in this class is building core

knowledge about the language of visual arts, developing the students’ historical knowledge and cultural

context, aesthetic awareness as it applies to traditional and digital 3-dimensional art forms. This course

also connects and applies art knowledge, skills, and processes within and across other disciplines and

careers such as three dimensional medical imaging.

The students’ individual voice or style is developed throughout the year by completing design challenges

of increasing complexity and skill that reflect their point of view. A central theme in this class is the role and

development of the visual arts; exploring how technological developments have impacted and influenced

the making of art throughout time. Students research, identify and analyze how these technological

developments have shaped the making of art, the evolution of concepts, and how viewers experience art.

Students also report on how new technology might affect the visual arts and speculate on how advances in

technology might change the definition and function of the visual arts and. Additionally, students build a

broad understanding of careers in the arts and related fields that focus on digital art and animation.

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Textbook/ Supplemental Materials

Cinema 4D Resources

Alley, Tony. Exploring 3D Modeling with Cinema 4D R9. Clifton Park, NY: Delmar Learning, 2006.

Call, Anson. Cinema 4D R10 Handbook. Boston, MA: Charles River Media, 2007.

Koenigsmarck, Arndt Von. Cinema 4D 10 Workshop. Amsterdam: Elsevier Focal, 2007.

Koenigsmarck, Arndt Von. Cinema 4D 11 Workshop. Amsterdam: Focal, 2008.

McQuilkin, Kent, and Anne Powers. Cinema 4D: The Artist's Project Sourcebook. Waltham, MA: Focal,

2011.

Osipa, Jason. Stop Staring: Facial Modeling and Animation Done Right. Indianapolis, IN: Wiley/Sybex,

2007.

Sondermann, Horst. Light Shadow Space: Architectural Rendering with Cinema 4d. Vienne: Springer,

2008.

Tickoo, Sham. Maxon Cinema 4D R14 Studio: A Tutorial Approach. CADCIM Technologies. 2013.

Zbrush Resources

Keller, Eric. Introducing ZBrush 4. INpolis, IN: Wiley, 2011.

Kingslien, Ryan. ZBrush Studio Projects: Realistic Game Characters. Indianapolis, IN: Wiley Pub., 2011.

Robson, Wayne. Essential ZBrush. Plano, TX: Wordware Pub., 2008.

Scherer, Manuel. ZBrush 4 Sculpting for Games: Beginner's Guide: Sculpt Machines, Environments, and

Creatures for Your 5 Game Development Projects. Birmingham, [UK: Packt Pub., 2011.

Spencer, Scott, Eric Keller, and Paul Gaboury. ZBrush Digital Sculpting Human Anatomy. Indianapolis, IN:

Wiley Pub., 2010.

Spencer, Scott. ZBrush Character Creation: Advanced Digital Sculpting. Indianapolis: Wiley, 2011.

Wise, Daryl. Secrets Of Zbrush Experts. Clifton Park, NY: Delmar, 2011.

DVD Resources

Sims, Aaron. Creature Design with Aaron Sims. Prod. The Gnomon Workshop, 2007. DVD.

Welsh, Jason. Pixologic Zbrush 3.1. Virtual Training Company, 2008. DVD.

Brown, John. Sculpture with John Brown: Vol 1. The Character Armature. The Gnomon Workshop, 2007.

DVD.

Brown, John. Sculpture with John Brown: Vol 2. Character Maquettes. The Gnomon Workshop, 2007.

DVD.

Infiniteskills. Learning Cinema 4D Special Effects Techniques - Training DVD. 2012. DVD.

Drawing and Design Resources

Bancroft, Thomas. Creating Characters with Personality. Watson-Guptill Publications. 2006.

Curedale, Rob. Design Thinking: Process and Methods Manual. Design Community College Inc. 2013.

Davenne, Christine. Cabinet of Curiosity. Abrams Publishing. 2011.

Ehrenberg, Rachel. “The 3D Printing Revolution: Dreams Made Real, One Layer at a Time.” Science

News. 2013: 20-25. Print.

Elkins, James. Art Critiques: A Guide, 2nd ed. New Academia Publishing. 2009.

Greenberg, Saul, and Marquardt, Nicolai. Sketching User Experiences: The Workbook. Morgan Kaufmann.

2011

Hart, John. The Art of the Storyboard: A Filmmaker’s Introduction 2nd ed. Focal Press. 2008.

Hallgrimsson, Bjarki. Prototyping and Model making for Product Design (Portfolio skills). Laurence King

Publishing. 2012.

Hatch, Mark. The Maker Movement Manifesto: Rules for Innovation in the New World of Crafters,

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Hackers, and Tinkerers. McGraw-Hill. 2013

Henry, Kevin. Drawing for Product Designer/Portfolio Skills Product Design). 2012.

Hudson, Jennifer. Process: 50 Product Designs from Concept to Manufacture. London: Laurence King

Pub., 2011.

Martin, Bella. Universal Methods of Design: 100 Ways to Research Complex Problems, Develop

Innovative Ideas, and Design Effective Solutions. Rockport Publisher. 2012.

Robertson, Scott. How to Draw: Drawing and Sketching Objects and Environments from your Imagination.

Design Studio Press. 2013.

Roselien, Steur. Sketching: The Basics. BIS Publishers. 2011.

Parada, Andres. Product Sketches: From Rough to Refined. BIS Publishers. 2013.

Whitlatch, Terryl, and Gilbert Banducci. Animals Real and Imagined: The Fantasy of What Is and What

Might Be. Culver City, CA: Design Studio, 2010.

Wilkinson, Karen. The Art of Tinkering. Weldon Owen Publications. 2013

Van Wulfen, Gijs. The Innovation Expedition: A Visual Toolkit to Start Innovation. BIS Publishing.

2013.

Various authors. The Big Book of Character Design: A Compilation of Contemporary Character Culture.

2012.

Web Resources

The Artist Classroom: Feldman Model of Analyzing Artwork

http://artistclassroom.weebly.com/feldman-approach.html

Drawing & Composition for visual storytelling.

http://www.floobynooby.com/IPUB/comp1.html

The Future Channel for information about math concepts

http://thefutureschannel.com

The Guardian Article about Cabinet of Curiosities

http://www.theguardian.com/artanddesign/2014/jan/13/cabinet-curiosities-taxidermy-retro-

museums

Greyscale Gorilla for digital tutorials

www.greyscalegorilla.com

Institute of Design at Stanford for information about Design Thinking strategies

www.dschool.stanford.edu

Lynda.com for digital tutorials

www.lynda.com

Museum of Modern Art for information about surrealism

https://www.moma.org/learn/moma_learning/themes/surrealism/surrealist-landscapes

MOMA exhibition about the Wunderkammer for information about the history of the Wunderkammer

http://www.moma.org/interactives/exhibitions/2008/wunderkammer/

School of Visual Arts, Tall Tales: A Modern Totem Pole. for information about contemporary totems

http://design.sva.edu/talltales

The Surrealist Manifesto for information about surrealists

http://www.ubu.com/papers/breton_surrealism_manifesto.html

ThingLink for display of student research

www.thinglink.com

When Reality Fades Away: Surrealism Invades 3d Art for information about surrealists

http://www.cgtrader.com/blog/when-reality-fades-away-surrealism-invades-3d-art



http://thefutureschannel.com/

http://www.theguardian.com/artanddesign/2014/jan/13/cabinet-curiosities-taxidermy-retro-museums


http://www.greyscalegorilla.com/

http://www.dschool.stanford.edu/

http://www.lynda.com/





http://www.thinglink.com/


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Course Outline: A detailed descriptive summary of all topics covered. All historical knowledge is expected to be empirically

based, give examples. Show examples of how the text is incorporated into the topics covered. A mere listing of topics in outline form

is not sufficient (i.e. textbook table of contents or California State Standards).

Unit One: 3D Totems- An Introduction to the Elements of Art and Principles of Design

This lesson focuses on developing artistic perceptual skills and visual arts vocabulary. The teacher

introduces student to traditional artwork made in the form a totem found in various cultures and also

analyze artwork from the exhibition titled “Tall Tales: A Modern Totem Pole.” The focus of the

conversation is analyzing how the elements and principles have been used to create expressive content.

They discuss how totems from various cultures have similar and dissimilar themes. Students then

demonstrate the understanding of vocabulary through drawing a series of small 2” X 2” compositions that

illustrate the elements of art and principles of design. These sketches are then transformed into a stacked

totem-like sculpture using the software Cinema 4D and printed using a 3d printer. At the end of this unit,

students will know how to:

The Visual Arts (“f”) topics

● Discuss a series of their original works of art, using the appropriate vocabulary of art. ● Describe the use of the elements of art to express mood found in works of art. ● Create original works of art of increasing complexity and skill that reflect complex ideas, such as

distortion, color theory, arbitrary color, scale, and expressive content. ● Investigate and discuss universal concepts expressed in works of art from diverse cultures. ● Identify the intentions of artists creating contemporary works of art and explore the implications of

those intentions. CTE Topics

● Articulate the characteristics of various art forms from past and present cultures and analyze similar themes used by various cultures.

● Know the appropriate skills and vocabulary of the art form. ● Understand and analyze the elements of the art form. ● Students analyze how change happens at different rates at different times; understand that some

aspects can change while others remain the same; and understand that change is complicated and affects not only technology and politics but also values and beliefs.

● Know policies, procedures, and regulations regarding health and safety regarding the 3D printing equipment.

● Understand critical elements of health and safety of practices related to storing, cleaning, and maintaining tools, equipment, and supplies related to the 3D printer and wash tank.

Unit Two: Blobatar Unit

This lesson focuses on how shape symbolism can create the emotional impact and personality

characteristics of an animated character. Students discuss familiar characters from movies and those from

the early 20th century. They analyzing and breaking down the basic shapes found in these works.

Artwork discusses includes: Otto Messmer’s Felix the Cat, Walt Disney Studios, UPA, Studio Ghibli, and

Pixar. Stop motion animations like; Wallace and Gromit and The Nightmare Before Christmas, will also be

discussed. They will discuss how the important developments of early animation studies have impacted

work made today. Students complete sketchbook assignments that focus on color theory and shape

symbolism. Students practice drawing shapes to express emotion, draw concept sketches, complete

preliminary art in Photoshop, build clay models of the characters, and finally model a simple character

made of “blobs” that embody a particular emotion. Cinema 4D is used to model the 3d character. At the

end of this unit, students will know how to:

The Visual Art (“f”) Topics

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● Analyze and discuss complex ideas, such as distortion, color theory, arbitrary color, scale, expressive

content in works of art.

● Analyze their own work of art as to personal direction and style.

● Describe the use of the elements of art to express mood.

● Identify contemporary artists worldwide who have achieved regional, national, or international

recognition and discuss ways in which their work reflects, plays a role in, and influences present-day.

CTE Topics

● Know universal cultural concepts and identify cultural similarities and differences found in artwork from

various animation studios.

● Use technical applications in the creative process of building an original expressive character.

Unit Three: The Production Pipeline - Character Development, Design, and Modeling

The focus of this unit is for students to understand industry standard production processes for product

creation. Students research a number of visual arts careers that use 3D modeling and research artists

working in these fields. They explore the process of developing a work of art from ideation to final product

(the Project Pipeline). To accomplish this, a story synopsis is provided to the class that outlines a setting,

a story synopsis, and a specific cast of characters. Students select a character to visually and

conceptually develop, sketch, pitch to the class, and critique. A clay model is sculpted as a visual prototype

and the final character is modeled in Cinema 4d and zBrush. The topic of copyright is discussed in this

unit. At the end of this unit, students will know how to:


● Create original works of art of increasing complexity and skill that reflect their points of view.

● Demonstrate in their own works of art a personal style and an advanced proficiency in communicating

an idea.

CTE Topics

● Know the personal qualifications, aptitudes, knowledge, and skills necessary to succeed in careers.

● Understand the scope of career opportunities and know the requirements for education, and licensure.

● Understand the concept and application of ethical and legal behavior consistent with workplace

standards, including the adherence to the copyright and intellectual guidelines.


recognition and discuss ways in which their work reflects, plays a role in, and influences present-day

culture.

Unit Four: Sculpting the Human Figure

This unit’s focus in on understanding the human figure. Students analyze how artists across time have

represented it using a variety of media. The discussion focuses on how technology has influenced the

ways artists have represented the human figure throughout time. Contemporary 3D modelers that focus on

the human figure are contrasted with artwork from Greek and Roman antiquities, the Renaissance, and

modernist sculpture. Artists discusses include Scott Eaton, Marc Quinn, and Sophie Robinson. The

students create multimedia presentations about their research, present it to the class, and post it on a

website. They will complete a portfolio of life drawings and finally use zBrush to sculpt a posed human

figure in a personal style. At the end of this unit, students will know how to:


● Analyze the works of a well-known artist as to the art media selected and the effect of that selection on

the artist's style.


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recognition and discuss ways in which their work reflects and influences present-day culture.

CTE Topics

● Deliver multimedia presentations that include images, text, and video.

● Understand the application of research and analysis skills to the create of content.

Unit Five: The Human Figure in Motion - Walk Cycle

The unit focuses is on understanding the movement of the human figure. Students study early forms of

animation including the Egyptian tomb of Khnumhoptep and Niankhkhnum, the Thaumatrope, Zoetrope

and Kineograph (flipbook). Students practice drawing a walk cycle and build simple Thaumatrope

animation. Students are introduced to the work of Eadweard Muybridge and early stop frame animation in

films like King Kong, Jason and the Argonauts, and The Making of ParaNorman. Students discuss the

evolution of stop frame animation. They analyze and discuss how 3D printing technology in the movie,

ParaNorman, was used to create the models and how it improved the expressive qualities of the

animation. Students then study the human figure in motion and produce a portfolio of figure drawings from

life. The students storyboard a 15 second movie that involves the movement of a human figure. They

produce a series of reference photos using high speed photography. These photos are used as reference

for keyframing a mannequin in a 15 second animation made in Cinema 4D. Students learn the 12

Principles of Animation. Using these principles, students then animate the character developed for Unit 3.

At the end of this unit, students will know how to:


● Analyze the artworks as to the art media selected and the effect of that selection on the style.

● Describe the relationship involving the art maker (artist), the making (process), the artwork (product),

and the viewer.

● Speculate on how advances in technology might change the definition and function of the visual arts.

CTE Topics

● Understand how technology can reinforce, enhance, or alter products and performances.

● Use a variety of strategies (e.g., personal experience, discussion, research) to comprehend, interpret,

evaluate, and appreciate source and technical documents and materials.

Unit Six: Virtual Kinetic Sculpture - A Response to Technology

The focus of this unit is to learn about kinetic sculpture and use advanced animation tools to create a

virtual sculpture. Students study the history of kinetic sculpture. Historical artists like Alexander Calder

and Jean Tinguely, and contemporaries like Li Mee Young, Theo Jansen, Paul Grundbacher, and David C.

Roy are introduced as examples of sculptures that move through 3-dimensional space. Students also

examine public installations about the environment like: Field by Richard Box, the work of Janet Echelman,

Gabriel Dawe, and Ron Arad’s Curtain Call. Using the 12 basic principles of animation learned in Unit 5,

students will work in teams to create a proposal for a public artwork that moves. They research a local, site

location and develop a large-scale kinetic sculpture for that location. Students employ the principles of

Animation to create their 3D models in Cinema 4d. The content of the sculpture must address the student’s

ideas about how technology is shaping the environment. The students present their ideas to a panel of

professionals in the community. At the end of this unit, students will know how to:


● Investigate and report on the essential features of modern or emerging technologies that affect or will

affect visual artists and the definition of the visual arts.

● Construct a rationale for the validity of a specific work of artwork that falls outside their own

conceptions of art.

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● Understanding the cultural dimensions of the visual arts.

CTE Topics

● Understand the historical contributions and cultural dimensions of the visual arts.

● Participate in interactive teamwork to solve design challenges.

● Understand the characteristics and benefits of teamwork, leadership, and citizenship in the community.

Unit Seven: Toy Design and Product Design Unit

The focus of this unit is to develop a product design and work with a group of student engineers to

manufacture the design. Students write their own synopsis of a toy they would like to build. The ideas are

pitched to the class, students then create orthographic sketches and final orthographic illustrations in

Illustrator. Student draft illustrations (blueprints) to scale and share them with a team of student engineers.

They build a model in Cinema 4d or zBrush. Google Drive is used as a planning and sharing tool. The

design/engineering team problem solves how to assemble to toys, move parts, and rotate components.

They work together to determine the material usage and cost of the final product. Students design

packaging for the toy and a final 2-dimensional poster with original 3d fonts is created and printed.

Students present the process portfolio of their work at a public exhibition. At the end of this unit, students

will know how to:


● Create original works of art of increasing complexity and prepare portfolios of their original works of

art.

● Assemble and display objects or works of art as a part of a public exhibition at the local library.

● Demonstrate a personal style and an advanced proficiency in communicating an idea.

CTE Topics

● Use models, simulations, and other tests to determine optimal design solutions from a variety of

options. Prototyping construction methods with the engineer to determine what methods will work best

for their toy design.

● Construct and read drawings and models made to scale.

● Understand the use of contracts in the arts industry and the principles and responsibilities of working

as an independent contractor, including budgeting, project planning, advertising, and marketing

strategies.

● Understand past, present, and future technological advances as they relate to a chosen pathway.

● Understand the characteristics of teamwork and leadership in the workplace.

● Understand how to interact with others in ways that demonstrate respect for individual and cultural

differences and for the attitudes and feelings of others.

● Compare and contrast the roles of creators, performers, and others involved in the production and

presentation of the arts.

Unit Eight: Industrial Design-Functional Forms inspired by Forms in Nature

The focus of his industrial design unit is developing ideas for functional objects. Students examine a range

of objects including: vehicle design, furniture design, sculptural jewelry, and shoe design. Students select

an area of interest and identify a problem with a product they would like to redesign. Students learn how to

draw objects using 2 and 3-point perspective and spend several days in the maker studio prototyping

solutions using wood, foam, paper, tape, glue, and other quick prototyping materials. They finalize their

designs based on the prototypes and then create a 3D model in Cinema 4D. The students work closely

with a panel of industrial designers from the area throughout the project. Prototypes are printed using the

3D printer. The panel judges student presentations and final product. At the end of the unit, students will

know how to:

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● Plan and create works of art that reflect complex ideas.

● Assemble and display objects or works of art as a part of a public exhibition.

● Demonstrate in their own works of art a personal style and an advanced proficiency in communicating

an idea.

CTE Topics

● Collaborate with industry experts for specific technical knowledge and skills.

● Know the skills required to design, edit, and produce a production for printed presentation.

● Use a variety of strategies interpret, evaluate, and appreciate source and technical materials.

Unit Nine: Wunderkammer Unit - A Contemporary Collection

The focus of this unit is for students to explore the history of collecting objects and develop visual

metaphors of their own. This class project expands the students’ understanding of the museum as a place

of spectacle, wonder, and repository of unusual objects. Students begin by researching the history of the

Wunderkammer, or Cabinet of Curiosity. They explore how this cultural phenomenon, in fashion during the

colonial period, developed into the contemporary museum. They will read articles about how artists still

work with this curatorial strategy. The students visit 2 local museums and a local store that sells unusual

objects (a kind of cabinet of curiosity). Students then create an unusual object that acts as a visual

metaphor for a social problem or current event. Students curate these objects into a class

WunderKammer. At the end of this unit, students will know how to:


● Research the methods art historians use to determine the time, place, context, value, and

culture that produced a given work of art.

● Describe the relationship involving the art maker (artist), the making (process), the artwork

(product), and the viewer in the context of a museum.

● Compare and contrast works of art, probing beyond the obvious and identifying

psychological content found in the symbols and images.

● Use innovative visual metaphors that represent a social issue, current event, or idea about

today’s world.

CTE Topics

● Understand digital applications appropriate to specific media and projects.

Unit Ten: Virtual Museum Project

Students study the 4 aesthetic theories; Imitationalism, Instrumentalism, Emotionalism, and Formalism.

They research various artworks made using 3D modeling software. Building on what they have learned

throughout the year, the students work in design teams to create a virtual museum of artworks curated into

a 4 distinctive galleries that represent the aesthetic theories. Each student curate their research, include

their own work made this year, and create a new work for one of the galleries in the museum.

The Visual Art (“f”) Topics ● Assemble and display objects or works of art as a part of a public exhibition. ● Demonstrate in their own works of art a personal style and an advanced proficiency in communicating

an idea, theme, or emotion. ● Identify contemporary artists worldwide who have achieved regional, national, or international

recognition and discuss ways in which their work reflects, plays a role in, and influences present-day culture.

● Research the methods art historians use to determine the time, place, context, value, and culture that

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produced a given work of art. ● Apply various art-related theoretical perspectives to their own works of art. CTE Topics ● Know how technology and the arts are interrelated in the development of presentations and

productions. ● Articulate the characteristics of various art forms from past and present cultures and analyze similar

themes used by various cultures in a variety of arts settings. ● Understand the historic impact of the arts and technology on society.

Unit Eleven: Surrealistic Illustration, Animation, and the 3D scanner

The unit focuses on exploring visual metaphors through surrealistic image making. Students learn how to

use the 3D scanner of their faces. Students plan and create a fine arts piece that will be placed in the

Virtual Museum created in Unit 10. They print for an exhibition as in a public space. Student may work

independently or in teams to create the work. Students use Cinema 4d or zBrush to build the images. At

the end of this unit, students will know how to:


● Compare how distortion is used in photography or video with how the artist uses distortion in painting

or sculpture.

● Identify the intentions of artists creating contemporary works of art and explore the implications of

those intentions.

● Use innovative visual metaphors in creating works of art.

● Plan and create works of art that reflect complex ideas, such as distortion, color theory, arbitrary color,

scale, expressive content, and real versus virtual.

● Assemble and display objects or works of art as a part of a public exhibition.

CTE Topics

● Analyze the way in which technical design (e.g. color theory, lighting, graphics, typography, posters,

sound, costumes, makeup) contributes to a performance or presentation.

● Understand the influence of current and emerging technology on selected segments of the economy.

Unit Twelve: The Reel and Print Portfolio

The unit focuses on gathering work for public sharing. As a final assessment, students assemble a reel

(an animated digital portfolio) and a print portfolio of their year’s work. Students create storyboards to

outline the order in which footage is presented. Students use iMovie to assemble the portfolio and print 2-

dimensional examples of their work. Students write criteria for successful works, define how their work has

grown over time, write an artist statement, and complete a résumé . Students build portfolio websites of

their work, include the reel, and present their work at an exhibition event.


● Develop written criteria for the selection of a body of work from their portfolios that represents

significant achievements.

● Select three works of art from their art portfolio and discuss the intent of the work and the use of the

media.

● Prepare portfolios of their original works of art for a variety of purposes (e.g., review for post-

secondary application, exhibition, job application, and personal collection).

CTE Topics

● Know important strategies for self-promotion in the hiring process, such as job applications, résumé

writing, interviewing skills, and preparation of a portfolio.

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Key Assignments: Detailed descriptions of all Key Assignments which should incorporate activities and projects, as well as, short

answers and essay questions. How do assignments incorporate topics? Include all assignments that students will be required to

complete. Assignments should be linked to components mentioned in the course outline. It is not appropriate or necessary to include

instructions given to students regarding the execution of assignments (formatting, timeliness, etc.). Do not include exams or

assessments in this section.

The following is a list of the Key Assignments that outline how the Visual Art and CTE standards are met

throughout the year. The first 7 assignments listed are general activities complete over the course of the

entire year and may or may not be connected to an individual unit. This is followed by a list of sequential

instructional units that outline the process, product, and outcome of each unit of study.

Weekly Sketchbook Assignments (each week)

Students complete weekly homework sketchbook assignments that build drawing skills, visual arts

vocabulary, build knowledge of color theory, artistic perception, and help them develop concepts for class

projects. Weekly assignments might also include visual research of a topic, and/or written investigations of

an aesthetic theory or movement, and reflection about an artist’s work or concept. Investigations into

careers in the field of 3D design will be explored. These assignments are integrated into a particular unit

of study and build on the concepts taught during that unit of instruction. The outcome of the weekly

sketchbook assignments are for students to develop the habit of drawing to explore ideas, develop

observational drawing skills, use drawing as a means of research/information gathering, and as a form of

communication.

Digital Tutorials (Units 1,2, 4, 5, 6, 9,10, and 11)

Students complete simple digital tutorials for each of the units that teach them how to use the software.

Similar to classroom demonstrations of art materials, these tutorials are most often 1-2 class period long

and primarily focus on specific software tools to create a product, not the unit content itself. Students

complete 8 digital tutorials throughout the year. The outcome of the tutorials is for students to gain the

technical skills to successfully complete a subsequent design challenge.

Google Drive Notes (used for lecture notes and peer feedback)

Students keep class notes using the online program, Google Drive. A Cornell Notes template is provided to

the class for in class note taking. These notes are used to keep information about a given software, class

lectures, or research they have completed. Information gained from Sustained Silent Reading materials is

gathered in Google Drive. Group work is also developed and shared using Google Drive. These notes are

shared with the teacher for review and editing. The outcome of this activity is for students to learn how

technology tools can be used for productive study habits and a collaborative form of communication.

ThingLink and Prezi Activities (Units 1, 4, 9, 10, and 11)

Student use the website, ThingLink.com, as a research and information-sharing tool throughout the year

on several units. Students conduct research individually and with design teams, create slide shows, short

video clips, and upload original artwork to teach the class and others about aesthetic theory, the history of

sculpture, technology, and their own artwork. These activities act as the primary means to share visual

and information research. The outcome of these assignments is to develop interactive presentation skills

that go beyond a simple PowerPoint presentation. Links to the presentations are posted on a class

website.

Oral presentations (Units 3, 6, 7, 9, 10, and 11)

A central feature of college and career readiness is the ability for student to communicate orally. Students

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present preliminary sketches, process work and final projects to the teacher, to each other’s, and to

industry professionals. Students present in both formal and informal ways to large and small groups

including: sharing sketchbooks, concept sketches, historical research, and career investigations. The

outcome of these tasks is to help students become comfortable in front of others, receive criticism from

others, develop brainstorming strategies, and develop organizational strategies for successful

communication.

Peer critiques and peer evaluations (all units involve a peer feedback activity) Students learn to

objectively critique the work of others using several strategies from the book, Art Critiques: A Guide, by

James Elkins. These critiques happen at the beginning of a unit, during the progress and end of the unit of

study. The outcome of the process and final critiques is for students to develop critical thinking skills

necessary for successful employment in the design industry.

Cooperative learning and team organization (Unit 3, 9, and 10)

Students learn the social skills necessary to work effectively with others to produce a product or achieve a

common goal. Students produce Gantt workflow charts, create documents shared via Google Drive,

define Project Pipeline roles, and develop respectful behaviors.

Unit 1: 3D Totems- An Introduction to the Elements of Art and Principles of Design

ThingLink Activity

The students analyze the works, write descriptions about how the artworks are used as functional,

ceremonial, and/or decorative purposes. As a class, the students use ThingLink.com to build an

interactive, online research “library” of totems found in various cultures throughout the world. Students then

explore and analyze the contemporary exhibition called “Tall Tales: A Modern Totem Pole”,

(http://design.sva.edu/talltales). Students write a 4 paragraph essay (using the Feldman Approach) about

how the Elements of Art and Principles of Design are found in the works of art

(http://artistclassroom.weebly.com/feldman-approach.html). The written research is included on a

ThingLink.

Sketchbook Activity

Students draw 2”x2” sketches that represent the elements and principles we discussed in class. Pencil,

ink, and Copic markers are introduced as various drawing media used in the design industry. These

sketches are then used as inspiration for a 3-dimensional model. The drawn images are cut out and

arranged as a “stacked” image. Students combine elements and principles to build an interesting

composition. A final sketch is made and present to the class in small groups.

Digital Tutorial

Students complete a 2 hour introductory tutorial with the teacher introducing them to the software, Cinema

4D. The focus of the tutorial is developing students’ abilities to sculpt geometric forms, combining simple

forms to create complex forms, and deforming simple forms by bending, twisting, and melting.

Digital Sculptural Activity

Students build the “stacked” model they sketched and presented. Cinema 4D is used as the modeling

software. The sculptures are printed using a 3d printer.

ThingLink Exhibition

Students prepare a process portfolio of their process sketches, digital models and photographs of their

final 3d printed sculptures for an online exhibition of their work. The students title their works of art and

add the process portfolio to the ThingLink they created at the beginning of the unit.

Silent Sustained Reading Resources

http://design.sva.edu/talltales (SSR reading and visual research on contemporary totems).

http://artistclassroom.weebly.com/feldman-approach.html (used as a reference for writing about art).

Alley, Tony. Exploring 3D Modeling with Cinema 4D R9. Clifton Park, NY: Delmar Learning, 2006. (pgs. 7-




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42 introduces basic modeling tools and interface of Cinema 4D).

Unit Outcomes

This first unit is designed to introduce the students to basic visual arts vocabulary, the research methods

used in the course, methods of writing about artwork, and the technical terminology and tools needed to

make digital 3D works of art.

Unit Two: Blobatar Unit

Visual Investigation

Students analyze familiar characters from movies and those from the early 20th century analyzing,

breaking down the basic shapes found in these works. Artwork discusses includes: Otto Messmer’s Felix

the Cat, Walt Disney Studios, UPA, Studio Ghibli, and Pixar. Stop motion animations like; Wallace and

Gromit and The Nightmare Before Christmas, will also be discussed. They discuss how the important

developments of early animation studies have impacted work made today. The students read excerpts

from the book, Creating Characters with Personality by Tom Bancroft, and analyze how the shapes used in

a design reflect the personality qualities in a cartoon character.

Clay Experiments

Students prototype 3-dimensional “sketches” in wet clay making “blob-like” objects that embody 5

personality characteristics; jolly, grumpy, playful, obedient, disobedient. This 2 day prototyping activity is

meant to get them thinking about how to apply shape symbolism.

Sketchbook Activities

Students draw 10 thumbnail sketches of a “Blobatar”, or blob-shaped avatar. The students utilize shape

symbolism to represent a mood. Students present their thumbnail sketches in small groups, select a final

image, draw an orthographic drawing (front, side, back) view of the sculpture. Students complete

sketchbook assignments that focus on color theory (primary, secondary, tertiary, analogous,

complementary) and how to apply the psychology of color to create a mood in a piece.

Digital Tutorials

The teacher leads a 1-day tutorial on painting in Adobe Photoshop, a 1-day tutorial activity that

demonstrates how to sculpt organic shapes using Cinema 4D (the metaballs tool and deformers are used

to create the forms), and a 1-day tutorial on how to create materials and textures in Cinema 4D.

Digital Drawing

Students scan their sketches and paint the final drawings of their character. Students paint three different

versions of the character using various color schemes to determine what color schemes elicit their

intended mood. They create an character sheet that includes and, orthographic view of the sculpture, a

character synopsis, and title.

Digital Sculpting Activity

Students sculpt the Blobatar characters using Cinema 4D. The characters are printed using a 3D printer.

The students display their completed drawings and 3D prints.

Silent Sustained Readings and Resources

Bancroft, Thomas. Creating Characters with Personality. Watson-Guptill Publications. 2006.

Hallgrimsson, Bjarki. Prototyping and Model making for Product Design (Portfolio skills). Laurence King

Publishing. 2012.


Hackers, and Tinkerers. McGraw-Hill. 2013

Roselien, Steur. Sketching: The Basics. BIS Publishers. 2011.

Wilkinson, Karen. The Art of Tinkering. Weldon Owen Publications. 2013

Unit Outcomes

The outcomes of this introductory lesson are to develop the artistic perception skills needed to create

expressive works of artwork, to make connections between the basic elements of art to complex digital

sculpting, and develop a foundational knowledge of how the industry prototypes ideas and develops them

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into final designs.

Unit Three: The Production Pipeline - Character Development, Design, and Modeling

Stages of Production Process

The teacher presents the stages of the Production Process, or the Project Pipeline: pre-production, production, and post-production will be discussed. Students take Cornell notes on Google Drive about the stages of the Project Pipeline.

Career and Artist Investigation

Students research the career options in each of the production stages in the Project Pipeline. Pre-production artist include Art Director, Concept Artist, Character Designers, Environment Designer, Storyboard Artist, and Layout Supervisor. Production artist include, Modeling Supervisor, Shade/Texturing Supervisor, Texture Artist, Rigging Supervisor, Lighting supervisor, and Shot Technical Director. Post-Production artists include Compositing supervisor, Editing Assistant, Music Score TD, Marketing TC, and Technical Assistant. Student search for job listing in each of the areas and write report on the salary range, training/school requirements, and experience. Students research, complete an artist profile investigation worksheet about one artist from each of the stages of the Project Pipeline. Students discuss two pieces of artwork created by the artist they researched. The discussion focuses on how the career aspects of the artist, as well as how the use of media 3D computer technology impacts the work.


Students write a character synopsis for the individual characters they will be animating. Students present the character synopsis to their design team and make revisions. Students create 10 draft sketches of their character using different shape symbolism techniques. We discuss copyright issues related to original designs. The class critiques and finalizes their character design and final orthographic view of the character designs will be drawn. A color scheme is selected for the characters complexion, hair, and clothing.

Clay Prototyping

Students prototype 3-dimensional “sketches” in wet clay. This weeklong prototyping activity is meant to help the student visualize their 2-dimensional drawings in 3d space before moving on to digital modeling.

Digital Tutorial Activity

Students participate in a 2 day digital tutorial about zSphere in zBrush. This tutorial prepare the students to model the character they have designed.

The Project Pipeline:

Students practice the stages of the Project Pipeline to develop a their characters. Students scan the final sketches and create a character turn around drawing (orthographic drawings) in Photoshop. Create a character color palette, build their character in zBrush, digitally paint the sculptures, and create a character poster. The character poster includes the character synopsis and name. A 3D print of the design is made for display.

Character Portfolio:

Students assemble the various works of art they created into a portfolio for exhibition. The portfolio includes products from each of the production phases the student embodied throughout the project, their career investigations, and reflection statement.

Silent Sustained Readings and Resources The Big book of Character Design: A Compilation of Contemporary Character Culture. 2012.

Keller, Eric. Introducing ZBrush 4. INpolis, IN: Wiley, 2011. (pgs. 19-54 introduces the zBrush

interface,148-180 introduces zSpheres and zSketching for the human figure).

Osipa, Jason. Stop Staring: Facial Modeling and Animation Done Right. Indianapolis, IN:

Wiley/Sybex, 2007.

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Storying Board Development http://www.floobynooby.com/IPUB/comp1.html

Sculpture with John Brown: Vol 1. The Character Armature. Prod. John Brown. The Gnomon

Workshop, 2007. DVD. (Demonstrates how to set up the armature for a figure sculpture).

Sculpture with John Brown: Vol 2. Character Maquettes. Prod. John Brown. The Gnomon

Workshop, 2007. DVD.(Demonstrates how to set up proportions and details on the figure for an

accurate sculpt of the human figure).

www.lynda.com (Video tutorials about zBrush tools and techniques)

Unit Outcomes

The outcomes from Unit 3 are for students to identify several careers in the visual art’s that use 3D

modeling, develop a broad understanding of the processes used by the design industry, apply this

knowledge of the Project Pipeline in the creating of an original work of art, and display the works in public.

Unit Four: Sculpting the Human Figure


Students compare and contrast the 3D artist Scott Eaton, a master zBrush artist who makes 3D figurative

models in the style of Greek sculpture, with images of the human figure in Egyptian,Greek, Roman and

Renaissance antiquities. We will also analyze the artists, Marc Quinn, Sophie Robinson, and Paul and

Laura Carey focusing on how technology has influenced the ways artists represent the human figure

throughout time. Students complete a historical research investigation worksheet to help them build an

awareness of the development of sculpture over time.

ThingLink Art and Technology Throughout Time

Students create a world map in ThingLink that maps the historical developments of how technology has

influenced the way the human figure has been represented. Each student is provided a “mystery” artwork

they must research. Their research presentations will be added to the ThingLink map that already includes

Scott Eaton, March Quinn, Robinson and the Carey’s. Using the research presented by other classmates,

students write a 4 paragraph response to the question, “How has technology shaped the ways the human

figure has been portrayed over time?”

Figure Studies and Sketchbook Activities

Students spend 10 days in class studying the human figure and bone structures by drawing from life. A

live model will be used for figure drawing and skeleton used to draw the bone structures with emphasis

placed on accurate proportions. Sketchbook activities focus on drawing the proportions of the human face,

hands and feet. Students create a portfolio of 15 human figure/body studies drawn in a wide variety of

materials. Two of these studies will be drawings of the human skull. These drawings inform them on the

3D models they create in the zBrush.

Digital Tutorials

Students model in zBrush their figures then learn how to create “bones”, or character rig, in a model so

they can pose the figure. Students will also complete a 2-day tutorial on how to digitally paint materials

onto the surface of a sculpture to mimic traditional sculpting materials like marble, clay, bronze with patina.


Students will select 1 or more of their figure drawings to create a sculpture using zBrush. They may select

a full figure, skeleton, or a portion of the figure like a skull. The sculptures are later placed into a virtual

museum made in Unit 11. Large format (16” X 20”) 2-dimensional posters will be printed and displayed.


Kingslien, Ryan. ZBrush Studio Projects: Realistic Game Characters. Indianapolis, IN: Wiley Pub., 2011.

Robson, Wayne. Essential ZBrush. Plano, TX: Wordware Pub., 2008. (pgs. 281-290 introduces UV

mapping and 227-240 introduces Polypainting in zBrush).

Scherer, Manuel. ZBrush 4 Sculpting for Games: Beginner's Guide : Sculpt Machines, Environments, and

Creatures for Your 5 Game Development Projects. Birmingham, [UK: Packt Pub., 2011. (pgs 175-208

introduces polygroups when sculpting the human figure).



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Spencer, Scott, Eric Keller, and Paul Gaboury. ZBrush Digital Sculpting Human Anatomy. Indianapolis, IN:

Wiley Pub., 2010. (pgs 33-78 introduces how to sculpt the human skull and facial features).

Spencer, Scott. ZBrush Character Creation: Advanced Digital Sculpting. Indianapolis: Wiley, 2011. (pgs

225-250 introduces the transpose and retopology tools used to pose the human figure).

www.greyscalegorilla.com (Video tutorials used to teach zBrush tools).

www.lynda.com (Video tutorials used to teach zBrush tools).

Unit Outcomes

The outcomes of this project are for student to understand the relationship between technological

development and art making, explore the human figure through time and cultures, introduce character

rigging in zBrush, and practice digital painting skills to mimic traditional sculpture materials.

Unit Five: The Human Figure in Motion - Walkcycle

Visual Research

Students are introduced to the early forms of animation including the Egyptian tomb of Khnumhoptep and

Niankhkhnum, the Thaumatrope, Zoetrope and Kineograph (flipbook). Students also study the 12

Principles of Animation and how they relate to the human figure in motion.

Sketchbook and Simple Hands-on Activities

Students practice drawing an 8-frame walkcycle of a simple figure in their sketchbook. The figure must

include a bounce, shuffle, or swagger. Then, the students build a Kineograph of their walkcycle. They also

build a simple Thaumatrope using cardboard, string, and 2 drawings made in the sketchbook of a person

and second object. Student use a contact sheet of photographs of the human figure in motion as reference

to draw a series of figures in action. They also analyze the human figure in motion by drawing the human

figure from life, producing a portfolio of figure drawings.

Photography Investigation

Students are introduced to the work of Eadweard Muybridge and early stop frame animation in films like

King Kong, Jason and the Argonauts, and The Making of ParaNorman. They produce a series of 60

reference photos using high speed photography that used as reference for a 15 second animation in

Cinema 4D. A Photoshop contact sheet is made of all their images to see the movement of the figure. The

photos will aid the students in keyframing a rigged character.

Ideas in Writing

Students discuss the evolution of stop frame animation with the inclusion of 3d modeling. They analyze

and write about how 3D printing technology was used in the movie, ParaNorman. Students reflect on how

it was used to create the models and how it improved the expressive qualities of the animation.

Digital Tutorials

Students complete a 5-day teacher-led tutorial on creating a digital “bone-structure”, or character rig, for a

mannequin. Students complete a 5-day tutorial on keyframing an animated character in Cinema 4D.

These tutorials give the students the skills need to animate their characters completed in Unit 3.

Digital Animation Activity

Project 1: Student use the character rig to keyframe a mannequin based on their series of reference

photographs. Project 2: Students use the skills they learned animating the mannequin to create a walk

cycle for the characters they developed in Unit 3. The characters must walk, jump, and then pose. A 15

seconds animation will be made for their digital reel in Unit 12.


Hart, John. The Art of the Storyboard: A Filmmaker’s Introduction 2nd ed. Focal Press. 2008.(pgs

37-69 SSR reading about the development, usage, and components to the Storyboard).

McQuilkin, Kent, and Anne Powers. Cinema 4D: The Artist's Project Sourcebook. Waltham, MA: Focal,

2011. (pgs 183-196 introduces animation basics in Cinema 4D).

Unit Outcomes

The outcomes of this project is for students to understand the historical developments of animation and 3d



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modeling. The technical skills for rigging a character, and how to keyframe an animation.

Unit Six: Virtual Kinetic Sculpture

Research Activities

Students analyze kinetic sculpture made by historic figures like Vladimir Tatlin, Alexander Calder and

Jean Tinguely, and contemporary artists like Li Mee Young, Theo Jansen, Paul Grundbacher, and David

C. Roy. They examine public installations about the environment like: Field by Richard Box, the work of

Janet Echelman, Gabriel Dawe, and Ron Arad’s Curtain Call. Special attention will be paid to those works

that address technology and the environment. Emphasis, balance, repetition, and proportion are central

concepts discusses when analyzing the kinetic sculpture. Students review the algebraic formulas behind

some of Calder’s work, and research how other artists use math to create kinetic sculptures. The students

then select a location in town or on campus they would like to place a kinetic sculpture.

Tinker activity.

Drawing Tutorial

The teacher demonstrates to the class how to draw using 1, 2 and 3-point perspective. Students complete

several drawing exercises practicing these techniques.


Project 1: Students will practice using the Law of Levers to design a mobile as practice. Project 2: Students

draw thumbnails sketches of 3 different proposed kinetic sculptures. Student use 2 or 3-point perspective

to illustrate their ideas. They propose them in small groups and complete a final drawing of their sculpture.

Digital Tutorials

Students complete a 1-day teacher-led tutorial on basic lighting, camera viewers, and overlaying a location

photographs into the background of their environment. This tutorial builds on what the students learned in

Unit 5. 1 class period is spent introducing MoGraphs, a Cinema 4D plugin that aids in simulating motion

and rotation. Some students may elect to use MoGraphs to simulate motion.

Photo Investigation

The students will tour the city exploring the wide range of public artwork on display. The students visit their

proposed site, take reference photos, measurements, and begin to discuss how a piece of artwork might

engage the space.

Brainstorming Activity and Written Proposal

Student are divided into the design teams. Working together, they brainstorm ideas to the prompt, “What

is technology’s relationship to the environment?” The students spend 2 class period participating in

several brainstorming activities that get to think about an artistic design solution. Student write proposal of

their kinetic sculpture and shared with the final 3D model of the sculpture.


Students in groups of 3 or 4 build a 3d model of a kinetic sculpture in Cinema 4D that include animation,

basic lighting of the model, moving cameras, and location photographs in the background. Students

employ the Principles of Animation to animate their 3D models in Cinema 4D. Several 2-dimensional

images are printed for exhibition.

Presentation

Students create a fly-through animation, several large-format color prints of their sculpture and practice

presenting to other groups. Then, students present their teams’ ideas to a group of professionals that

evaluate their project and presentation.


Alley, Tony. Exploring 3D Modeling with Cinema 4D R9. Clifton Park, NY: Delmar Learning, 2006.

(pgs 107-139 introduces basic spline modeling in Cinema 4D).

Koenigsmarck, Arndt Von. Cinema 4D 11 Workshop. Amsterdam: Focal, 2008. (introduces more

19

advanced animation techniques).

McQuilkin, Kent, and Anne Powers. Cinema 4D: The Artist's Project Sourcebook. Waltham, MA:

Focal, 2011. (pgs 50-57 and 358-369 introduces MoGraphs for animation).

Tickoo, Sham. Maxon Cinema 4D R14 Studio: A Tutorial Approach. CADCIM Technologies. 2013. (chpt. 8

introduces advance animation and keyframing tools in Cinema 4D).

Learning Cinema 4D Special Effects Techniques - Training DVD. Infiniteskills. 2012. (Video tutorials used

to teach animation in Cinema 4D).

www.greyscalegorilla.com (Video tutorials used to teach animation tools in Cinema 4D).

Unit Outcomes

The outcomes of this project is for students to utilize drawing skills to propose a public work of art to a

group of professionals in the area. Students understand the importance of polished presentation and

communication skills, and the importance of high quality visual aids.

Unit Seven: Toy Design and Product Design Unit

Research

Students watch the movie, Toys Are Us: A Revolution in Plastic, and several movie clips that focus on toy

design found on the www.thefuturechannel.com. Students complete a movie notes worksheet in Google

Drive to take notes during the movie and the class discusses how the artists in the video have used the toy

as a platform for meaning or individual message. A guest artist/parent toy designer, Jorge Soto, will join us

for the discuss. He will share his experience as a designer and discuss the process he goes through in the

development of this product line. Discussion questions will include topics about the future of 3D modeling

in the toy design industry. Student explore several toys from the past 40 years, including modern day toys.

Students will watch the tutorial on SkillShare called, “Beautiful Plastic: Creating a Great Designer Toy,” by

Paul Budnitz. The class will discuss how the mechanics of the toys have changed over time due to

computer graphic technologies and how 3d printing technology has made it possible for home designers to

produce work.

Tinkering Challenge

Students tinker with a wide variety of toys that have different assemblages. They will deconstruct the toys to

investigate how they are built, move, roll, and assemble. They photograph the components and construct a digital

“Tinkerboard” in Google Drive that includes their photos and annotations about the toys’ construction.


Students sketch orthographic drawings of joints used in several found toys to inform them about moving

structures. They also sketch orthographic views of 3 different toy designs they will make in Cinema 4D.

Sketches will share in small group, critiqued and finalized.

Digital Orthographic Illustration

Students use Adobe Illustrator to create a final orthographic view of their toy design. Several color palettes

will be selected for their toy.

Digital Sculpting Collaboration Activity

Students will then begin work in the pre-production phase of product development. Teams of students will

embody the roles of the pre-production phase while designing a toy robot with movable parts. Packaging

will be designed for the toy and a poster with original 3D font will be made. The designs will be presented

to the class for feedback.

Presentation

Student then share out their final projects to the class. Groups evaluate the toys using the class rubric.

Focused conversation will be on how the groups have employed the principles of design, created a


20

functioning toy, and the group process.


Henry, Kevin. Drawing for Product Designer/Portfolio Skills Product Design. 2012. (pgs 10-23 reading

introduces the student sketching for the industrial design field).


Pub., 2011. (Students use this book as a visual reference for ideas).

Robertson, Scott. How to Draw: Drawing and Sketching Objects and Environments from your Imagination.

2013. (Students use this book as a visual reference for ideas)

Parada, Andres. Product Sketches: From Rough to Refined. 2013. (Students use this book as a visual

reference for ideas).

Steur, Roselien. Sketching: The Basics. 2011. (pgs 112-146 introduces drawing techniques for adding

color to product drawings).

Unit Outcomes

The outcomes of this project is for students to experience working with others to get their designs built.

Unit Eight: Industrial Design-Functional Forms inspired by Forms in Nature

Research

Students research and practice using the Design Thinking Process (Empathy, Define, Ideate, Prototype,

Test). The students read several articles about Design Thinking to inform them of the process. They

identify a product, process, service, or industry they believe needs improvement and begin to use Design

Thinking strategies to solve the problem. The challenge is for students to identify a solution inspired by

objects found in nature. The students work closely with a design professional during the ideation process

to develop solutions.

Field trip

Students visit the Exploratorium’s Tinkering Studio to participate in a workshop. This experience helps students experience prototyping.

Sketchbook and Prototyping Activities

Students will spend 5 days sketching ideas about an identified needs and building prototypes of their ideas

using miscellaneous materials. This process helps the student visualize proportions and forms in 3-

dimensions before moving on to modeling. Students share their prototypes in small groups.

Digital Orthographic Illustration

Students create final orthographic and ¾ view illustrations of their design solution in Adobe Illustrator.


Students will take their final prototype and model it using Cinema 4D. The prototypes will be printed using

a 3d printer. Advanced modeling tools will be used to form complex forms.

Presentation

Student will present their process images, prototypes, and final projects in a public exhibition. A panel of

judges evaluate the product using the class rubric. Focused conversations address how the groups have

employed the principles of design, created a functioning toy, and the group process.


Curedale, Rob. Design Thinking: Process and Methods Manual. Design Community College Inc.

2013.

Ehrenberg, Rachel. “The 3D Printing Revolution: Dreams Made Real, One Layer at a Time.” Science

21

News. 2013: 20-25. Print. (article given as an SSR reading and class discusses creative used of

the 3D printer in wide range of fields)

Greenberg, Saul, and Marquardt, Nicolai. Sketching User Experiences: The Workbook. Morgan

Kaufmann. 2011. (SSR reading pgs 1-6 discusses the creative process when sketching, 23-43

introduces how to sample images from the natural world to design products).

Hallgrimsson, Bjarki. Prototyping and Model making for Product Design (Portfolio skills).

Laurence King Publishing. 2012. (SSR reading pg. 20-17 introduces how prototype are used in

product design, pgs 79-177 used as a materials reference for prototyping and building

techniques).


Hackers, and Tinkerers. McGraw-Hill. 2013. (SSR reading pg. 11-23 discusses the importance of

making in the human experience).

Henry, Kevin. Drawing for Product Designer/Portfolio Skills Product Design. 2012. (sketchbook drawing

tutorials pgs 110-116).


Pub., 2011. (Students use this book as a visual reference for ideas).

Martin, Bella. Universal Methods of Design: 100 Ways to Research Complex Problems, Develop

Innovative Ideas, and Design Effective Solutions. Rockport Publisher. 2012. (Students use this

book as a visual reference for ideas).

Robertson, Scott. How to Draw: Drawing and Sketching Objects and Environments from your

Imagination. Design Studio Press. 2013.(sketchbook tutorials pgs 30-42 for perspective drawing,

pgs 72-74 for drawing ellipses, and pgs 82-96 for drawing complex volumes).

Roselien, Steur. Sketching: The Basics. BIS Publishers. 2011. (sketchbook tutorials pgs 172-178

for drawing product details to prepare for final display).

Wilkinson, Karen. The Art of Tinkering. Weldon Owen Publications. 2013. (SSR reading to

introduce the Exploratorium and the importance of tinkering before the students visit the museum

pgs 10-22).

www.dschool.stanford.edu (The concepts of Design Thinking are explored on this website).

Unit Outcomes

Students understand how to use the Design Thinking processes to design a product for consumer use.

They will develop communication skills while working with professionals in the industrial design, furniture

and vehicle design, and jewelry design.

Unit Nine: Cabinet of Curiosity Unit - A Contemporary Collection - 1st semester exam

Visual Investigation and ThinkLink

Students explore the history of collecting objects by researching the history of the Wunderkammer, or

Cabinet of Curiosity. Divided into teams, student teams discover and present information about this topic.

Research teams investigate the Ferrante Imerato’s Dell’Historia Naturale-1599, Ole Worm’s Olaus

Wormius-1600’s, Ferrante Imperato’s Dell’historia naturale-1672, Joseph Bonnier de la Mosson-1700’s,

Box in a Suitcase by Duchamp-1935, the Malplaquet House 1742-present, the animal grottoes by Niccolo

Pericoli-1550 and the Temple of Leda’sTreasure, and the home of Jacques Garcia. Students collect

images and information about these places and create a ThinkLink about the Wunderkammer.

Tinker Challenge - To illustrate their understanding of a Wunderkammer, students create a collection of

collages of strange objects. Their cabinet might focus on a particular subject or be constructed out of

random cultural artifacts left in world today. The collages are displayed and shared with the class.


Student develop a collection of ideas for objects they might contribute to a class Wunderkammer.

Students collage to create hybrid creatures, use printed images from the Internet to gain inspiration, sketch

objects, and annotate their artwork.

http://www.dschool.stanford.edu/

22

Digital Tutorials

The teacher will lead a digital tutorial on materials, textures, and advanced modeling for objects like

feathers and fur. Only student needing these materials to build their objects participate in these tutorials.


Students complete a 3-dimensional model of 2 objects using complex modeling techniques in Cinema 4D

or zBrush. The focus of the models is creating objects (curating objects) that tell the viewers something

about the world we live in today.

ThingLink Art and The History of the Museum

The students builds a ThingLink with information about the history of the Cabinet of Curiosity and include

their own objects for the class Cabinet. Each group contributes their historical investigations and every

student contribute 2 original objects.


http://www.theguardian.com/artanddesign/2014/jan/13/cabinet-curiosities-taxidermy-retro-museums.

(website used to research the history of the Cabinet of Curiosity).

http://www.moma.org/interactives/exhibitions/2008/wunderkammer/ (website used to research the history

of the Cabinet of Curiosity).

Davenne, Christine. Cabinet of Curiosity. Abrams Publishing. 2011. (SSR reading pg. 6-10 to introduce the

concepts of the Cabinet of Curiosity. Images from the book used as a visual reference for

students to gain ideas).

Unit Outcomes

The outcomes of this unit is for students to gain an understanding of how we came to collect objects in

museums and how the Cabinet of Curiosity is used as a means of expression.

Unit Ten: Virtual Museum Project


The teacher leads an activity that introduces students to the 4 aesthetic theories; Imitationalism,

Instrumentalism, Emotionalism, and Formalism. They take notes on Google Drive. Students draw a large

blueprint of a museum with 4 galleries and sort a variety of images of artworks into the galleries. Images

include traditional and digital artworks from a wide variety of cultures. They name the museum and each

individual gallery. Students research various artworks made using 3D modeling software. Building on

what they have learned throughout the year, the students will work in design teams to create a virtual

museum of artworks curated into a 4 distinctive galleries that represent the aesthetic theories. Each

student will curate their research, include their own work made this year, and create a new work for one of

the galleries in the museum.

Digital Tutorials

The teacher demonstrates how to use bump maps for textures and advanced lighting techniques.

Sketchbook Activity

Students complete a 2-point perspective drawing of their museum galleries.


While in design teams, students create a 4 gallery museum. Each gallery represents one of the aesthetic

theories discussed in class. The students create a piece of artwork for their museum that can be critiqued

using one of the aesthetic theories discussed in class. The artwork may be in-the-round or a relief piece

that hangs on a wall.

Writing Activity

Students write a 4 paragraph curatorial statement for their gallery that defines how the works in the gallery

represent the aesthetic theory.


Van Wulfen, Gijs. The Innovation Expedition: A Visual Toolkit to Start Innovation. BIS Publishing. 2013.

(SSR reading pgs 104-110 discusses the power of observation as an innovation tool).



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Unit Outcomes

The outcomes of this unit are students will develop a broad understanding of how approach a wide range

of artworks with aesthetic questioning strategies (Imitationalism, Instrumentalism, Emotionalism, and

Formalism). They use research methods and discussion strategies to reflect on works of art.

Unit Eleven: Surrealistic Illustration, Animation, and the 3D scanner

Lecture

The teacher discusses the Surrealist movement and how these artist used visual metaphors to express the

social consciousness of the day. We explore the work of contemporary 3d artist that make surrealistic

artwork (http://www.cgtrader.com/blog/when-reality-fades-away-surrealism-invades-3d-art). Students

respond with discussion and questions. Students then read portions of the Surrealist Manifesto. The class

discusses how the manifesto and the artwork are cohesive.


Student sketch preliminary ideas of visual metaphors that include a self-portrait. They share their sketches

in small group, critique, and make final changes to a final sketch. Color pencils are used to develop a

color scheme for the illustrations.

Digital Tutorials

Students participate in a 1-day tutorial learning how to use the digital 3d scanner and the 2d scanners.

Students are required to include a 3d and 2d scan in their illustration. Later in the unit, the teacher directs

a 2-day tutorial on lighting and environment effects tools to demonstrate how to create mood with dramatic

lighting effects. Students use these techniques in their final surrealistic illustrations.


Student scan their heads and other items using the 3d and 2d scanners. These scans are used in the

making of a surrealistic illustration. Students use the skills they’ve learned in the previous units to create a

“master work.” The illustration should demonstrate the broad range of technical skills and a person voice

or direction. Student use may use a combination of Cinema 4d, zBrush, Photoshop techniques to create

the surrealistic visual metaphor.


Sondermann, Horst. Light Shadow Space: Architectural Rendering with Cinema 4d. Vienne:

Springer, 2008.(pg. 50-62, 62-70, 130-140, introduce students to complex lighting in Cinema 4D).

http://www.cgtrader.com/blog/when-reality-fades-away-surrealism-invades-3d-art (website used to

research the history of the Surrealist movement and it’s descendants).

http://www.ubu.com/papers/breton_surrealism_manifesto.html (website used to research the history of the

Surrealist movement).

https://www.moma.org/learn/moma_learning/themes/surrealism/surrealist-landscapes (website used to

research the history of the Surrealist movement).

Unit Outcomes

The outcomes for this project is for student to demonstrate a personal voice in a visual metaphor.

Students demonstrate their advanced 3d sculpting skills, as well as their digital painting and lighting skills.

Unit Twelve: The Reel


Students review several professional and student portfolios, demo reels, and artist websites to gain an

awareness of the ways artists promote their artwork.


Students complete a storyboard outlining the order of their reel. Students include standard editorial

comments and graphic transitions to visualize how they will communicate in the reel. Storyboards are

shared in small group, music discussed, and edited.





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Digital Tutorials

The students complete a 1-day tutorial on digital editing using iMovie to assemble the reel with music,

transitions, and title page. The teacher reviews www.weebly.com and discusses the components of a

successful artist website.

The Reel

Students create an iMovie highlighting their short animations, sketches, digital illustrations, and modeling

skills. The reel should demonstrate their use of the 12 Principles of Animation and a broad understanding

of drawing techniques used in animation. The reel must contain a title sequence and be set to music that

best matches their animation style. Students export the reel as a Quicktime movie and posted on the class

website and a student portfolio website.

Webpage Design

Students create an artist’s website using www.weebly.com. They include the work they’ve made this year,

resume, artist statement, writing they’ve completed in the class, and other information they believe best

highlights their artwork.


http://www.floobynooby.com/IPUB/comp1.html (used as a visual guide to making storyboards).

Unit Outcomes

Students gain the skills and experiences of self-promotion using professional means of sharing their

artwork.

http://www.weebly.com/


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Instructional Methods and/or Strategies: Indicate how the Instructional Methods and/or Strategies support the delivery of the

curriculum. What portions of the Course Outline are supported by the methods and strategies?

The following list of Instructional Methods are designed to give the student a broad range of experiences

that meet the Visual Art Standards and provide the college and career readiness experiences outlined by

the Career Technical Education Standards. The methods balance the rigorous investigation into the

artistic, creative, historical and aesthetic awareness of the visual arts and provide authentic challenges the

student might experience in the fields of animation, illustration, character modeling, design for video

games, motion graphics, industrial design, and architecture.

1. Cornell note taking strategies for class discussions and lecture: A Cornell Notes Template is provided to the

students at the beginning of the year in the Google Drive. Students use the template to take notes about the design

process, technical information, take notes from video presentations and lectures. These notes are used to study and

as a reference for software questions. 2. Direct instruction: The teacher works 1-on-1 with students as they solve design problems. 3. Guided practice using teacher lead digital and traditional art making tutorials: The teacher uses a projector

and document camera to teach drawing techniques, share student work and teach technical skills related to the

software. In the drawing studio, the teacher demonstrates to the students how to complete 4. Collaborative group work: Several assignments ask students to solve design challenges in teams. The teams

develop workflow charts, assign responsibilities or jobs, critique each other’s work and present in groups. The 3D

Modeling students collaborate with engineering students to develop 3d printed models of their artwork. 5. Small group demonstrations/instruction: The teacher will often demonstrate techniques to small groups to

determine their ability to retain the techniques. 6. Investigative/inquiry activities: Students are challenged with research components to the Design Challenges.

They activities are designed to build the students’ awareness of content prior to solving a challenge. This is

completed both individually and in groups throughout the year. 7. Authentic Experiential learning: Student learn the product process and then embody these roles in several

authentic design challenges. Student learn the value in 8. Independent study: Students develop their own solutions to design challenges. They also develop reels or

portfolio of works for summative assessments. 9. Collaborative team teaching: The 3D Modeling and Engineering teachers collaborate on the Toy Design Unit.

Teachers collaborate on the launch of the project, critique the works of each group throughout the unit, and evaluate

the final products. 10. Internet Research: Students conduct research for a wide variety of project.. Image research and information

research is gathered and present in a variety of ways. 11. Guest Speakers: Toy designers, industrial designers, and animators visit classes when available and

appropriate. Alumni of the course who are studying 3D Modeling, animation, or industrial design visit the course to

discuss their programs of study. College representatives visit the class to discuss careers in the field of 3D modeling. 13. Self and peer critiques: Students critique their work and the work of others to improve their work. Several

critiquing strategies are used to develop the students technical, communication, and artistic skills.

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Assessments Including Methods and/or Tools: Indicate the intent of each assessment and a brief description of how each relates

to the Course Purpose and goals related to the development of critical thinking and other habits of mind skills.

The following is a list of formative and summative assessments for each unit of the course. The

assessments evaluate a range of skills including: the students aesthetic awareness, creative expression

of a particular design challenge, the students’ technical abilities in traditional and digital media, the

student’s knowledge of history and cultural influence, and the students’ ability to communicate visually and

orally. Assignments listed in the Unit descriptions should be considered formative assessments. The

following is a general list of assessment methods followed by a detailed explanation of individual units. The

College and Career Readiness Anchor Standards have also been listed. Evaluation breakdown: Design Challenges and presentations 65%, Test and Quizzes 10%, Weekly Sketchbook

Assignments 25%

1. In-class Tinker Challenges: The intent of the Tinker Challenge is for students to develop technical knowledge,

artist skill, and brainstorming skills needed to begin a larger design project. Habits of Mind: The Tinker Challenges

provide an opportunity for students to “chew” on complex ideas before they apply them to final designs. 2. Weekly Sketchbook Assignments: Weekly assignment are given to develop drawing and observation skills, as

well as a means for students to collect research. The teacher shares example of successfully completed assignments

and uses a Sketchbook Rubric to assess their products. Habits of Mind: Weekly Sketchbook Assignments develop

the habit of drawing regularly and allow students to practice technical drawing skills. 3. Written composition, reports, and reflections: Students experience a wide range of written assessments that

ask them to reflect, explain, develop ideas, and communicate to others. A Common Core Writing Rubric is provided

for each assignment prior to the task. Habits of Mind: Writing about art, techniques, aesthetic theory, and careers in

the arts helps student verbalize conceptual ideas and to improve communication to others. 4. Partner and individual quizzes: The teacher assigns quizzes to individual students and to teams of students.

These quizzes are designed to test the students technical skills/awareness, as well as, their aesthetic and historical

knowledge of the visual arts. Habits of Mind: Partner quizzes build partnerships with others in the classroom, a

valuable skill in the art field, while individual quizzes help build personal responsibility. 5. Design Challenge critiques: Student participate in individual, large group, and small group critiques. Progress

critiques aid the student in addressing artistic and technical skills, while summative critiques help student is

presentation skills. Habits of Mind: Design Critiques help students share and listen to critical questions and feedback.

It offers students an opportunity to elicit feedback about form and concepts and provides a forum for students to share

their technical/artist knowledge with one another. 6. Unit quizzes: Unit quizzes focus on assessing the students’ technical skills using the software. Habits of Mind:

They also assess their artistic, aesthetic and historical awareness. They encourage the students to continue their

study of artistic vocabulary and technical terminology. 7. Unit projects presentations: Throughout the year, students make formal presentations to the class and are

evaluated using a presentation rubric. Habits of Mind: Either individually or in design teams, design presentations

using technology such as; Google Drive, ThingLinks, Prezi, and also present from traditional 2d printed images,

preliminary sketches, and technical drawings provide an opportunity for students to practice real world presentation

skills needed in today’s workplace. 8. Continual analysis through self and peer critiques: Students critique their work and the work of others to

improve their work. Several critiquing strategies are used to develop the students technical, communication, and

artistic skills. Grades are determined by participation in critique. Habits of Mind: Peer critiques provide opportunities

for students to elicit feedback about form and concepts on a 1-1 basis. This can be a safer place to get help from

peers than in large-group Design Critiques. 9. Mid-term performance exam: This semester final is designed to the students’ artistic and technical development.

The exam includes a wide range of questioning strategies including: standardized test methods, performance tasks,

and written responses. Habits of Mind: The mid-term examine is a combination of aesthetic awareness through written

reflection, artist creative solution to a design challenge, and technical skills assessment. 10. Mastery of Technical Skills Checklists: The teacher provides a Skills Checklist for each unit of study. As the

students develops their traditional and digital technical skills, the student and teacher meet to discuss their mastery of

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the skills. This might be a drawing portfolio, collection of sketchbook assignments, or a list of tools used in the

software program. Habits of Mind: Checklists provide a guidepost for students, an easy measuring still to determine

what they should know at the end of a unit. 11. Final Reel and Print Portfolio Presentation: For the final assessment, students develop a movie reel of the

concept art, drawings, 3D models, and animations created throughout the year. The reel demonstrates the breadth of

accomplishments and/or highlights the students’ artistic voice. The reel is posted on the class website and other

digital media outlets. Habits of Mind: The reel and portfolio are a professional means to share work with others.

12. Common Core Anchor Standards

Students participate in a number of assessments aligned with the College and Career Readiness anchor standards.

3D modeling for design incorporates both Visual Arts and CTE content to build content knowledge alongside career

readiness skills. Below is an overview of the CCR standards covered in 3D Modeling for Design.

Reading

Students read a variety of non-fiction texts such as technical documents, analysis of artistic works

found in professional journals, essays, film criticisms, articles about new technologies, websites, and

new art practices, and digital media. The Reading Anchor Standards specifically addressed in 3D

Modeling for design include R.1, R.7, R.9, and R.10.

Writing

3D Modeling incorporates writing in a variety of contexts for the Design, Media, and Visual Arts

industry. Students write several project proposals, character synopsis overviews, critiques, blog

posts, and web pages. Students write in both sketchbooks and using online resources like Google

Drive, ThingLink, and Evernote. They also write many analytical descriptions of artworks made

throughout time. Longer and more formal writing tasks include informative, compare-contrast, and an

in-depth research paper (Unit 11). Writing that is specific to the design industry includes a mock

journalism article, resumes, and a career investigation are written in units 3, 4, 6, and 11. Students

must demonstrate appropriate formatting, command of written and verbal language, and knowledge

of audience and purpose. The Writing Anchor Standards specifically addressed in 3D Modeling for

design include W.1, W.6, W.7, and W.8.

Listen and Speaking

3D Modeling for Design emphasizes the need to excel in speaking and listening, in addition to

writing in order to compete in a media oriented job market. Students develop speaking and

presentations skills by addressing a variety of audiences from small groups to community forums. In

each unit, students develop listening skills by critiquing peer and professional presentations.

Students apply these skills to determine valid arguments in a variety of contexts including

classmates’ pitches and podcasts, professional videos, and web based sources. The Listen and

Speaking Anchor Standards specifically addressed in 3D Modeling for design include SL.2 and SL.5.

Unit One: 3D Totems- An Introduction to the Elements of Art and Principles of Design A. In-class Tinker Challenge: Students tinker with arranging their elements and principles sketches into stacked

pieces of artwork. A tinker challenge rubric will be used to evaluate the in-class challenge to ensure they have

included the required components. Tinkering for a class period builds the idea of prototyping, failing, and reworking

ideas to create a better final products. B. Weekly Sketchbook Assignment: A sketchbook rubric will be used to evaluate the application of drawing

skills, analysis of the elements of art and principles of design, and craftsmanship of the drawings. A

standard sketchbook rubric helps students understand the importance of daily/weekly drawing. C. Written composition, reports, and reflections: Student write an 4 paragraph analysis of a contemporary totem.

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A writing rubric is provided for this assignment that is aligned with the Common Core Anchor Standards for writing.

This assessment focuses on the students’ analysis of design principles and cultural awareness. D. Notes Check: Students take Cornell Notes on Google Drive. The teacher will check the quality of notes and meet

with students who are struggling with note taking strategies. E. Design Challenge critiques: An informal progress grade will be given for students that participate during in-

progress critiques. The intent of the process critique is for students to learn how to provide constructive feedback and

listen to the opinions and questions of others. F. Unit quizzes: Student take a short quiz on the visual arts vocabulary and technical terminology learned in this unit.

This helps reinforce the vocabulary we will use throughout the course. G. Mastery of Technical Skills Checklists: Each unit of instruction is accompanied with a Mastery Checklist that

lists the technical skills the student must learn before moving on to the next unit. The student and teacher work

together to check-off each skill. The significance of this activity is to identify the technical or artistic skills student might

need additional help during study session. H. Project Rubric: A project rubric is provided to the student at the beginning of class. The rubric for this project

assesses the student’s ability to illustrate the elements and principles in a 3d model.

Unit Two: Blobatar Unit A. In-class Tinker Challenge: Clay prototypes are made to develop ideas and discussed in small groups. Informal

In-class discuss occurs during the activity. B. Weekly Sketchbook Assignments: A sketchbook rubric will be used to evaluate the application of drawing

skills, analysis of the elements of art and principles of design, as they apply to their Blobatar design. C. Written composition, reports, and reflections: Students write reflections and notes about the artwork movie

clips discussed in class, compose a 2 paragraph character description, and annotate in their sketchbook regarding

their Blobatar. A Common Core Writing rubric is used to evaluate writing conventions. D. Notes Check: Students take Cornell Notes on Google Drive. Notes focus on shape symbolism and sculpting

techniques. E. Unit quizzes: At the end of this unit, the students complete a quiz focusing on Cinema 4d basic modeling tools. F. Unit projects presentations: We will print and display the process drawings, clay prototypes, and final 3d prints of

the Blobatar project. Students will discuss their success in illustrating a particular emotion in the sculptures. G. Continual analysis through self and peer critiques: Student share out in small groups their process design and

make changes as needed. This critique focuses on how well the artist is representing emotion in the Blobatar. H. Mastery of Technical Skills Checklists: To demonstrate their understanding of 3d modeling, student complete

the Mastery Checklist of content learned in the Digital Tutorial #2 (painting in Photoshop and modeling organic shapes

in Cinema 4D).

Unit Three: The Production Pipeline - Character Development, Design, and Mode A. In-class Tinker Challenge: Students tinker with sculpt their character designs in modeling clay before moving

onto the computer. A tinker challenge rubric will be used to evaluate the in-class challenge to ensure they have

created an interesting and challenging character. B. Weekly Sketchbook Assignments: A sketchbook rubric will be used to evaluate the application of drawing

skills, visual research and investigation into original character design. C. Written composition, reports, and reflections: Student write a summary about the Project Pipeline, complete a

1 page paper about an 3d artist and careers in the 3d arts. A writing rubric is provided for this assignment that is

aligned with the Common Core Anchor Standards for writing. This assessment focuses on the students’ investigation

into careers in the field of visual design and artist research. D. Notes Check: Students take Cornell Notes on Google Drive. Notes focus on Project Pipeline and advanced

sculpting tools in zBrush. E. Partner and individual quizzes: Short, Individual quiz given about Project Pipeline. F. Design Challenge critiques: An informal progress grade will be given for students that participate during in-


listen to the opinions and questions of others. G. Unit quizzes: At the end of this unit, the students complete a quiz focusing on the Project Pipeline and basic

modeling in zBrush.

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H. Unit projects presentations: We will print and display the process drawings, clay prototypes, and final 3d prints

of the Character project. Students will discuss their success of their characters. I. Continual analysis through self and peer critiques: An informal progress grade will be given for students that

participate during an small group critique (4 or 5 students). The intent is for students to receive feedback about the

proportions, emotional characteristics, and detailing of the character they are working on. J. Mastery of Technical Skills Checklists: Mastery Checklist #3 focuses on using tools and techniques to create a

cartoon 3d model in zBrush.

Unit Four: Sculpting the Human Figure A. In-class Tinker Challenge: Students will tinker with proportions of the human figure using a wire armature and

clay. A tinker challenge rubric will be used to evaluate the in-class challenge to ensure they have constructed the

model correctly and made a human figure in correct proportions. This challenge helps the students visualize the

human figure in 3-dimensions before moving on to the computer . B. Weekly Sketchbook Assignments: A sketchbook rubric will be used to evaluate the application of drawing

skills applied to drawing the hands, feet, and skull. C. Written composition, reports, and reflections: Each student writes a 3-paragraph analysis of a mystery artwork.

The analysis focuses on the historical context of the artwork. A writing rubric is provided for this assignment that is

aligned with the Common Core Anchor Standards for writing. D. Notes Check: Students take Cornell Notes on Google Drive. Notes focus on creating materials, character rigging,

and proportion. E. Partner and individual quizzes: Short, partner quiz given about creating materials and character rigging. The

intent of the partner quiz is to build teamwork to solve visual problems. F. Design Challenge critiques: An informal progress grade will be given for students that participate during in-


listen to the opinions and questions of others. G. Unit quizzes: At the end of this unit, the students complete a quiz focusing on Cinema 4d intermediate modeling

tools and creating original materials. H. Unit projects presentations: We will print and display the process portfolio of figure drawings, prints of their

original material design sheets, and 2d print of their human figure. Products from Unit 5 will be shown with these

items. I. Continual analysis through self and peer critiques: An informal progress grade will be given for students that

participate during an small group critique (4 or 5 students). The intent is for students to receive feedback about the

proportions, positioning, and posture of the human figure they are modeling. J. Mid-term performance exam: K. Mastery of Technical Skills Checklists: This activity focuses on sculpting tools and techniques in creating a

human figure in correct proportions. Final Reel and Print Portfolio Presentation:

Unit Five: The Human Figure in Motion - Walk Cycle A. In-class Tinker Challenge: Students will tinker with designing their own Thaumatropes, Zeotropes, and

Kineographs. A tinker challenge rubric will be used to evaluate the in-class challenge to ensure they have included the

required components. B. Weekly Sketchbook Assignments: Storyboards are drawn and evaluated using a storyboard rubric. C. Notes Check: Students take Cornell Notes on Google Drive. Notes focus on the Principles of Design. D. Partner and individual quizzes: Short, Individual quiz given about Principles of Animation. A second quiz given

about keyframing. E. Design Challenge critiques: An informal progress grade will be given for students that participate during in-


listen to the opinions and questions of others. F. Unit quizzes: During this unit, the students complete 2 quizzes focusing on Principles of Animation and character

rigging. G. Unit projects presentations: We will create a class display of work from Units 4 and 5. Movies will be displayed

on a large screen beside the 3d and 2d printed materials. Thaumatropes, Zeotropes, and Kineographs will also be

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displayed. H. Continual analysis through self and peer critiques: An informal progress grade will be given for students that

participate during an small group critique (4 or 5 students). The intent is for students to receive feedback during the

process of the project. I. Mastery of Technical Skills Checklists: This activity focuses on character rigging and the techniques used to

create believable movement in a human walk cycle.

Unit Six: Virtual Kinetic Sculpture A. In-class Tinker Challenge: Students will assemble a mobile using the Law of Levers to balance the mobile. This

1-day activity is designed to get the students thinking about physics in the real world and how they might apply it to a

virtual environment. Participations given for this activity. B. Weekly Sketchbook Assignments: A sketchbook rubric will be used to evaluate the application of drawing

skills, visual research and investigation into kinetic sculpture, and their ability to draw a final concept

design with annotations outlining important information about the mobility of their sculpture. C. Notes Check: Students take Cornell Notes on Google Drive. Notes focus on advanced animation keyframing and

techniques. D. Partner and individual quizzes: Partner quiz is given about the Principle of Animation. E. Unit quizzes: At the end of this unit, the students complete a quiz focusing on the Principles of Animation. The

combination of these quizzes builds towards independence. F. Unit projects presentations: Projects will be combined with work in Unit 10. G. Continual analysis through self and peer critiques: An informal progress grade will be given for students that

participate during an small group critique (4 or 5 students). H. Mastery of Technical Skills Checklists: This checklist activity focuses on using the Principles of Animation in

their work.

Unit Seven: Toy Design and Product Design Unit A. In-class Tinker Challenge: Students tinker with a wide variety of toys that have different assemblages. They will

deconstruct the toys to investigate how they are built, move, roll, and assemble. They photograph the components

and construct a digital “Tinkerboard” in Google Drive that includes their photos and annotations about the toys’

construction. A tinker challenge rubric will be used to evaluate the in-class challenge to ensure they have included the

required components. B. Weekly Sketchbook Assignments: A sketchbook rubric will be used to evaluate the application of drawing

skills, visual research and investigation into toy design, and their ability to draw a final concept design. C. Written composition, reports, and reflections: Students write a “pitch” for their toy. The pitch takes the form

synopsis, statement of target audience, and a final materials data sheet. A writing rubric is provided for this

assignment that is aligned with the Common Core Anchor Standards for writing. D. Notes Check: Students take Cornell Notes on Google Drive. Notes focus on building hinges, ball-and-socket

joints, and shelling a form. E. Design Challenge critiques: A formal progress grade will be given for students that participate during in-progress

critiques. Teacher uses a critique rubric to grade the students’ feedback and participation. The rubric is discussed

together. The intent of the process critique is for students to learn how to provide constructive feedback and listen to

the opinions and questions of others. The focus of this critique is on unique toy design. F. Unit projects presentations: We will print and display the process drawings, prototypes, and final 3d prints of the

Toy Design project. Engineering documents like: expanded view sheets, orthographic drawings, and materials spec

sheet will also be displayed. Students will discuss the process of working as a team with varying skills. G. Continual analysis through self and peer critiques: An informal progress grade will be given for students that


process of the toy design unit. The conversation focuses on the visual design of the piece.

Unit Eight: Industrial Design-Functional Forms inspired by Forms in Nature A. In-class Tinker Challenge: Students will tinker with a wide variety of materials to build prototypes of their product

design. They will create a “Tinkerboard”, much like an interior design mood board, that includes their inspirations and

sketches for their final designs. A tinker challenge rubric will be used to evaluate the in-class challenge.

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B. Weekly Sketchbook Assignments: A sketchbook rubric will be used to evaluate the application of drawing

skills, visual research and investigation into nature as inspiration, and their ability to draw a final concept

design. C. Written composition, reports, and reflections: Students write a “pitch” for their Industrial Design Product. The

pitch takes the form synopsis, statement of target audience, and a final materials data sheet. A writing rubric is

provided for this assignment that is aligned with the Common Core Anchor Standards for writing. D. Notes Check: Students take Cornell Notes on Google Drive. Notes focus on drawing and design strategies in the

field of industrial design. E. Design Challenge critiques: A formal progress grade will be given for students that participate during in-progress



the opinions and questions of others. The focus of this critique is on the student’s ability to use nature as inspiration for

a design solution. F. Unit quizzes: At the end of this unit, the students complete a quiz focusing on perspective drawing. G. Unit projects presentations: We will print and display the process drawings, prototypes, and final 3d prints of the

Industrial Design project. H. Continual analysis through self and peer critiques: An informal progress grade will be given for students that


process of the industrial design project. The focus of the critique will be on how the new product design addresses an

identified need or problem.

Unit Nine: Cabinet of Curiosity Unit - A Contemporary Collection A. In-class Tinker Challenge: A tinker challenge rubric will be used to evaluate the in-class collages made to test

the students’ understanding of the Cabinet of Curiosity. B. Weekly Sketchbook Assignments: A sketchbook rubric will be used to evaluate the application of drawing

skills, analysis of the elements of art and principles of design in their ideation sketches, and the student’s

ability to annotate their ideation process. C. Written composition, reports, and reflections: Students write an 3-4 paragraph artist statement that

accompanies their art piece displayed in unit 10. A writing rubric is provided for this assignment that is aligned with the

Common Core Anchor Standards for writing. The artist statement is posted on the students website in Unit 12. D. Notes Check: Students take Cornell Notes on Google Drive. Notes focus on the history of the Wunderkammer. F. Design Challenge critiques: A formal progress grade will be given for students that participate during in-progress



the opinions and questions of others. The focus of this critique is on creating visual interest and metaphor. G. Unit quizzes: At the end of this unit, the students complete a quiz focusing on creating materials. H. Unit projects presentations: Projects will be combined with work in Unit 10. A peer evaluation rubric will be used

to assess students’ presentations in small groups. I. Final Project: A design challenge rubric will be used to evaluate the students’ 3d sculpture. The rubric will focus

on their application of design principles and technical skills around materials, textures, and lighting.

Unit Ten: Virtual Museum Project A. In-class Tinker Challenge: Student groups will create quick floor plans of a museum divided into 4 Aesthetic

Theories and evaluated on their participation and accuracy in representing the 4 aesthetic theories discussed in class.

A Tinker rubric/checklist will be provided to the student as the rubric. B. Weekly Sketchbook Assignments: A sketchbook rubric will be used to evaluate the application of

perspective drawing skills and their ability to analyze and communicate an aesthetic theory. C. Written composition, reports, and reflections: Students write a 4 paragraph curatorial statement for their gallery

that defines how the works in the gallery represent the aesthetic theory. A writing rubric is provided for this assignment

that is aligned with the Common Core Anchor Standards for writing. D. Notes Check: Students take Cornell Notes on Google Drive. Notes focus on aesthetic theory. E. Design Challenge critiques: A formal progress grade will be given for students that participate during in-progress


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the opinions and questions of others. The focus of this critique is on the student’s understanding of the aesthetic

theories discussed in class. F. Unit quizzes: Students take 2 quizzes about aesthetic theory. G. Unit projects presentations: Students will create a museum and fill it with 3d objects. Virtual Gallerie software is

used to share the museum with others in the Internet. H. Continual analysis through self and peer critiques: An informal progress grade will be given for students that

participate during an small group critique (4 or 5 students). The intent is for students to receive feedback about how

the gallery design matches the aesthetic theory their team is representing. I. Presentation: Students present their final museum models with their curated works.

Unit Eleven: Surrealistic Illustration, Animation, and the 3D scanner A. In-class Tinker Challenge: A Tinker Challenge checklist rubric is used to evaluate the scan of the students’ face

according to the techniques taught during class.

B. Weekly Sketchbook Assignments: A sketchbook rubric will be used to evaluate the application of drawing

skills, analysis of the elements of art and principles of design in their ideation sketches, and the student’s

ability to represent ideas in their visual metaphor. C. Notes Check: Students take Cornell Notes on Google Drive. Notes focus on surrealism and technical aspects of

the 3D scanner. D. Unit quizzes: Students take a unit quiz on the characteristics of Modern and Post-modern Surrealism. E. Written composition, reports, and reflections: Student write an 3-4 paragraph artist statement. A writing rubric

is provided for this assignment that is aligned with the Common Core Anchor Standards for writing. F. Unit projects presentations: Students will share their work in the museum created in Unit 10 and print it for public

display. G. Design Challenge critiques: A formal progress grade will be given for students that participate during in-progress



the opinions and questions of others. The focus of this critique is on whether the student’s form meets his/her content. H. Continual analysis through self and peer critiques: An informal progress grade will be given for students that


process about the intended message in their surrealistic artwork.

Unit Twelve: The Reel and Print Portfolio A. Weekly Sketchbook Assignments: Storyboard for the portfolio reel is drawn and evaluated using a storyboard

rubric. Webpage layout is drawn and evaluated using webpage rubric that evaluates the design and usability of the

website. B. Final Reel and Print Portfolio Presentation: Student’s final presentations are evaluated using the “Am I Hired?”

rubric that outlines CTE career readiness skills, visual arts skills, and common core writing skills.

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Artistic Perception: Courses must include processing, analyzing, and responding to sensory information through the language and

skills unique to a given art. Describe in detail how the class satisfies the Artistic Perception requirement. Provide examples where this

might appear in the outline and/or assignments/activities.

Artistic perception in 2-dimensional work is developed throughout the year with activities that challenge

the students to apply the elements of art and principles of design. For instance, students process, analyze

and respond to shape symbolism in character development by analyzing sensory information presented in

the visual language unique to art in characters found in contemporary and historical animated movies

(Unit 3). Students process, analyze, and respond to the visual aspects of their work through experimenting

with manipulating the value and colors of various models impacts emphasis, unity, and balance. Students

process and analyze how various painters and sculptors have distorted the human figure throughout time

and then sculpt a classical figure, as well as a figure with distorted proportion using zBrush (Unit 4). Later,

these works are printed using a 3d printer. Students analyze through writing the formal and emotional

aspects of works made by Dali, Rene Magritte, and contemporary surrealist painters (Unit 12). Students

learn how to grow and paint virtual textures on models of mythological creatures that mimic textures found

in the natural world. Then, they simulate various lighting conditions in their virtual environments to affect

the overall mood of an artwork (Unit 12). Students analyze how the expressive qualities in a works of art

are affected by compositional strategies. Compositional strategies such as rule of 3rds, triangular

composition, and symmetry are all discussed when composing a 2-dimensional work (Units 4, 6, 8, and

12). 2-dimensional images are printed, analyzed, and critiqued by classmates and displayed for exhibition.

Artistic perception in 3-dimensional work is developed through extensive exploration of various 3D art

forms in both traditional and digital media, the students build a broad understanding of what it means to

create works of art that exist in 3-dimensions. The elements of art and principles of design are discussed in

relation to 3-dimensional works of art (Units 1, 3, and 10). Additional concepts about sculpture are

discusses, like: sculpture in the round, functional art (instrumentalism) vs. fine art, and interior and

exterior space. Artistic perception in animated work is developed through the study of the 12 principles of

animation to animate scenes in several short movies and apply these concept to their own works of art.

Creative Expression: Courses must include creating, performing, and participating in a given art. Describe in detail how the class

satisfies the Creative Expression requirement. Provide examples where this might appear in the outline and/or assignments/activities.

Students demonstrate a personal style and point of view by completing several design challenges that

focus on creative expression. For instance, students will explore a number of methods for developing

ideas, including weekly sketchbook assignments that focus on observational drawing of objects,

architecture, vehicles and observations of nature. In Unit 1 students create a stacked, 3-dimensional

sculpture using their knowledge of the elements and principles of design. Using their knowledge of shape

symbolism, they create a simple blob-like character that expresses a mood (Unit 2) and in Unit 3 create an

original cartoon character using zBrush.. Students spend several days creating a portfolio of figure

drawings (Unit 4) and use these drawings as reference in a 3d model of a human. Student apply their

knowledge of the principles of animation to create a human figure (Unit 5) and again to create a virtual

kinetic sculpture (Units 7). Sketchbook drawings focused on Linear perspective (Unit 10) , isometric

perspective (Unit 10), and orthographic drawing (Unit 2 and 3) are created to visually communicate their

ideas. Create build a virtual art museum and curate artists’ work and their own into distinctive galleries

(Unit 10). Students participate in the production process, or Project Pipeline, used in the entertainment

industry, create ideation sketches, and conduct written and visual research for projects (Unit 9 and 11).

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Additionally, students deconstruct the work of traditional and contemporary artist that use visual metaphor,

and the Post-modern Principles. Students then create their own visual metaphors that combines a 3d

scan, abstract forms and images to illustrate a point of view about a social issue of our time applying one

or more of the Post-modern Principle (Unit 11).

Historical and Cultural Context: Courses must include understanding historical contributions and cultural dimensions of a given

art. Describe in detail how the class satisfies the Historical and Cultural Context requirement. Provide examples where this might

appear in the outline and/or assignments/activities.

The historical and cultural importance of art making is explored in a number of ways. Traditional and

contemporary artworks made in the form a totem found in various cultures is introduced to learn how the

elements of art have been employed throughout many cultures (Unit 1). They analyze how artists across

time have represented the human figure focusing the discussion on how technology has influenced the

ways artists have represented the human figure in various cultures. They compare contemporary 3D

modelers that focus on the human figure with artwork from Greek and Roman antiquities, the

Renaissance, and modernist sculpture. Artists like Scott Eaton, Marc Quinn, Sophie Robinson are

discussed in the context of how they use current technology to produce artwork (Unit 4).

Students explore the development of early forms of animation including the Egyptian tomb of

Khnumhoptep and Niankhkhnum, the Thaumatrope, Zoetrope and Kineograph (flipbook) to gain an

understanding of the evolution of art. They study the work of Eadweard Muybridge and early stop frame

animation in films like King Kong, Jason and the Argonauts, and The Making of ParaNorman to see how

animation has evolved with technological developments (Unit 5). In Unit 3 students analyze the artworks

of Otto Messmer’s Felix the Cat, Walt Disney Studios, UPA, Studio Ghibli, Pixar, and stop motion

animations like, Wallace and Gromit and The Nightmare Before Christmas. They explore how every new

animation has been influenced by the past and one can trace a film’s “ancestry” back to previous works of

art (Unit 3).

The history of kinetic sculpture is explored, focusing on historical artists like Alexander Calder and Jean

Tinguely, and contemporaries like Li Mee Young, Theo Jansen, Paul Grundbacher, and David C. Roy,

Richard Box, Janet Echelman, Gabriel Dawe, and Ron Arad (Unit 6). Students explore the history of

collecting objects and the development of the Wunderkammer, or Cabinet of Curiosity (Unit 9). During Unit

11, students explore the Surrealists, Salvador Dali and Magritte, and compare these works to

contemporary artists working with 3D modeling and Surrealism (Aram Vardazaryan, Fran Camos,

Gediminas Pranckevicius, Petar Petrov, Steve Barrett, Tomasz Strzalkowski, and Kosmur). Students study

the 4 aesthetic theories; Imitationalism, Instrumentalism, Emotionalism, and Formalism. They research

various artworks made throughout time and explore how to create works that can be frames within the

discussion of an aesthetic theory (Unit 10).

Aesthetic Valuing: Courses must include responding to, analyzing, and making critical assessments about works of a given art

form. Describe in detail how the class satisfies the Aesthetic Valuing requirement. Provide examples where this might appear in the

outline and/or assignments/activities.

To develop aesthetic valuing students study a wide variety of artwork, analyze works of art as they relate

to aesthetic theory, make judgments about works of art in relation to the elements of art and principles of

design, and apply these theoretical perspectives to discuss their own work. During Unit 1, students learn

the elements of art and principles of design, create several studies of these concepts, and create a 3d

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model representing the elements of art and principles of design. The principles of design are reinforced

through teacher-led and student-led critiques throughout the course in each unit. Students apply these

concepts to various projects using appropriate vocabulary and terminology to describe and analyze their

own work.

Students analyze, assess, and derive meaning from art historic and contemporary Surrealist works of art.

The discussion focuses on what the Breton called “a poetic vision of the real mind.” (Unit 11). In Units 4, 6,

8, and 9 students identify intentions of artist in contemporary and discuss the implications of these

intentions for the viewer. In these units, they discuss the relationship between form and content, the

importance of the art process and product. Students apply the theories of Emotionalism, Imitationalism,

Instrumentalism and Formalism to analyze both traditional and digital works of art and use these theories

to construct a rationale for a work they don’t like.

To help the student understand the relationship between the artist, the art process, and the viewer,

students embody the various stages of the Production Process (pre-production, production, and post-

production) in an Industrial Design unit (Unit 7) and a Toy Design project (Unit 8). They collaborate with

professional mentors to guide and critique their products and present their work to a panel of experts for

final critique. These design challenges model for the student how to collaborate in various fields like,

industrial design, product and toy design, and concept design from the animation industry.

They write about artwork that use traditional media and those that use digital media, then create a virtual

museum to curate their own works of art (Unit 10). As a final activity, students develop criteria of

successful work for the making of an artist’s final reel and portfolio website (Unit 12).

Connections, Relationships, and Applications: Courses must include connecting and applying what is learned in a given art

form to learning in other art forms, subject areas, and careers. Describe in detail how the class satisfies the Connections,

Relationships, and Applications requirement. Provide examples where this might appear in the outline and/or assignments/activities.

Students make connections and relations to other visual art forms and careers in the arts. To develop a

wide range of competencies and creative problem solving skills, the instructional unit in this course are

centered around design challenges. The design challenges build a broad foundation of knowledge visual

literacy, the act of making, and presenting information to a variety of forums. Student compare and

contrast works of historical and contemporary artwork in several units of study. In Unit 1 we explore totem

around the world, in Unit 2 and 4 we examine symbolism and the human figure, and in Unit 11 we compare

several Surrealist works of art.

They speculate on the impact computer technologies will have on the visual arts by researching emerging

technologies used by contemporary artists. They will examine augmented reality, the use of video games

outside the field of entertainment, 3d scanning, and how 3d printers have impacted contemporary fine art

and industrial design (Units 1, 4, 6, 8 and 11).

The students further their lifelong learning and career skills while working with a wide range of outside

support. Industry professionals act as advisors to aid students in creating an original industrial design

product and toy design (Units 7 and 8). Students work with professional artist and art teachers to complete

a portfolio of their original artwork for exhibition, college admittance, and online public viewing.

3d modeling course...

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